拉彭蘭塔城市劇院

設(shè)計(jì)單位：ALA建筑師事務(wù)所

建筑面積：5 300平方米

竣工年份：2016年

項(xiàng)目攝影：Tuomas Uusheimo

聲學(xué)工程：Akukon

項(xiàng)目施工：Ev?lahti

結(jié)構(gòu)設(shè)計(jì)：Finnmap顧問(wèn)公司

暖通空調(diào)：Insin??ri工作室

電氣工程：芬蘭P?yry公司

設(shè)計(jì)團(tuán)隊(duì)：Juho Gr?nholm， Antti Nousjoki， Janne Ter?svirta， Samuli Woolston， Harri Ahokas， Tiina Liisa Juuti， Julius Kekoni， Auvo Lindroos， Niklas Mahlberg， Marlène Oberli-R?ih?， Pekka Sivula

項(xiàng)目管理：Sweco PM（實(shí)施階段），ISS Proko（設(shè)計(jì)階段）

購(gòu)物中心建筑設(shè)計(jì)：Cederqvist & J?ntti建筑師事務(wù)所

舞臺(tái)構(gòu)造：Akumek

Architects： ALA Architects

Area： 5 300 m?

Year： 2016

Photographs： Tuomas Uusheimo

Acoustical Engineering： Akukon

Contractor： Ev?lahti

Structural Design： Finnmap Consulting Oy

HVAC： Insin??ri Studio

Electrical Engineering： P?yry Finland Oy

Project Team： Juho Gr?nholm， Antti Nousjoki， Janne Ter?svirta， Samuli Woolston， Harri Ahokas， Tiina Liisa Juuti， Julius Kekoni， Auvo Lindroos， Niklas Mahlberg， Marlène Oberli-R?ih?，

Pekka Sivula

Project Management： Sweco PM （ Implementation Phase）; ISS Proko （Sketch Phase）

Architect， Shopping Center： Cederqvist & J?ntti Architects

Av Design： Kokos

Stage Mechanics： Akumek

拉彭蘭塔城市劇院的概念與眾不同：劇院建在一個(gè)購(gòu)物中心的頂層。然而，這個(gè)概念很古老，這也是劇院回歸本源、回歸市場(chǎng)、回歸公眾的原因。購(gòu)物中心每年有數(shù)百萬(wàn)客流，這些人可以欣賞各種戲劇，然后在餐廳用餐休息或下榻酒店。

門廳采用平靜的單色氛圍，與購(gòu)物中心繁忙的明亮色彩形成對(duì)比。一塊幾乎透明的波浪形金屬絲網(wǎng)簾將門廳與下方的購(gòu)物中心分隔開(kāi)來(lái)。樓梯從拱廊通向劇院門廳，觀眾穿過(guò)巨大的白色樓梯后抵達(dá)劇院。

此空間專為表演和戲劇入口而設(shè)計(jì)。鏡面使門廳的形狀和范圍變得模糊；這種體驗(yàn)就像一個(gè)人站在巨大舞臺(tái)的聚光燈下。在白天，天窗像一個(gè)巨大的燈，將天空的顏色疊加在箔片表面；在夜間，墻壁則反射出購(gòu)物中心明亮的燈光。

劇院是一個(gè)功能性典范，因?yàn)閹缀跛械目臻g都在舞臺(tái)上。這是理想的情況：劇院里幾乎所有活動(dòng)都朝向舞臺(tái)，時(shí)間安排通常很緊張。舞臺(tái)布景通過(guò)一個(gè)貨運(yùn)集裝箱大小的升降機(jī)從地下的裝卸區(qū)運(yùn)到車間中心。組裝完成后，可以將布景直接推到兩個(gè)舞臺(tái)中的一個(gè)，或推到排練大廳。

從技術(shù)人員的操作室到道具、服裝和更衣室，支持空間成線性排列，勾勒出大廳的輪廓。這意味著整個(gè)劇院只有一條走廊，而不是通常雜亂漆黑的后臺(tái)空間。既定解決方案還為所有后場(chǎng)提供充足的陽(yáng)光，這對(duì)于在舞臺(tái)上和舞臺(tái)周圍工作的專業(yè)人員非常重要。

The concept for the Lappeenranta City Theatre is exceptional： the theater has been built on the top floor of a shopping center. The idea， however， is ancient as this is theater coming back to its roots， back to the marketplace， back to the people. Millions of people visiting the shopping center annually will be able to enjoy a variety of plays， while the restaurants cater for intermissions and the hotel offers accommodation.

The foyer has a calm monochromatic atmosphere in contrast with the busy bright colors of the shopping center. Only a nearly transparent undulating wire mesh curtain separates the foyer from the shopping arcade below. The audience reaches the theater by walking up a grand white staircase leading from the arcade to the literally theatrical foyer.

This space is designed for performances as much as for dramatic entrances. The mirrored surfaces blur the shape and extent of the foyer; much like an experience one might have standing in the spotlight on the vast stage. In the daytime， the skylight multiplies the colors of the sky onto the foil surfaces like a giant lamp， during the darker hours the walls reflect the vivid lights of the shopping arcade.

The theater is a monument to functionality as virtually all spaces are on stage level. This is the ideal situation： almost all the actions in a theater are directed towards the stage and schedules are generally extremely tight. The stage sets arrive from the basement loading dock to the center of the workshop by a lift the size of a freight container. After assembly， the sets can be pushed directly onto one of the two stages or into the rehearsal hall.

The support spaces outline the halls in a linear procession from the spaces for the technical personnel onwards to props， costume shop and the dressing rooms. This means that the entire theater only has one single corridor， instead of the usual incoherent dark jungle of backstage spaces. The chosen solution also provides all backspaces with ample daylight， which is of great importance for the professionals mainly working on and around stage.